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This book constitutes the refereed proceedings of the 12th International Conference on Videogame Sciences and Arts, VJ 2020, held in Mirandela, Portugal, in November 2020.* The 10 full papers presented were carefully reviewed and selected from 46 submissions. *The conference was held online due to the COVID-19 pandemic.
This book constitutes the refereed proceedings of the 11th International Conference on Videogame Sciences and Arts, VJ 2019, held in Aveiro, Portugal, in November 2019. The 20 full papers presented were carefully reviewed and selected from 50 submissions. They were organized in topical sections named: Games and Theories; Table Boards; eSports; Uses and Methodologies; Game Criticism.
This book constitutes the revised selected papers of the 13th International Conference on Videogame Sciences and Arts, VJ 2023, held in Aveiro, Portugal, during November 28–30, 2023. The 17 full papers and the 6 short papers presented were carefully reviewed and selected from 64 submissions. They are organized in topical sections named: game experience and evaluation; game-based learning and edutainment; games and culture; game design and development.
This book constitutes the refereed proceedings of the 11th International Conference on Videogame Sciences and Arts, VJ 2019, held in Aveiro, Portugal, in November 2019. The 20 full papers presented were carefully reviewed and selected from 50 submissions. They were organized in topical sections named: Games and Theories; Table Boards; eSports; Uses and Methodologies; Game Criticism.
This book constitutes the refereed proceedings of the 12th International Conference on Videogame Sciences and Arts, VJ 2020, held in Mirandela, Portugal, in November 2020.* The 10 full papers presented were carefully reviewed and selected from 46 submissions. *The conference was held online due to the COVID-19 pandemic.
In Gaming Matters, McAllister and Ruggill turn from the broader discussion of video game rhetoric to study the video game itself as a medium and the specific features that give rise to games as similar and yet diverse as Pong, Tomb Raider, and Halo.
This volume of VGAR critically analyzes video game art as a means of survival. Though "survival strategy" exists as a defined gaming genre, all video games-as unique, participatory artworks-model both individual and collaborative means of survival through play. Video games offer opportunities to navigate both historical and fictional conflicts, traverse landscapes devastated by climate change or nuclear holocaust, and manage the limited resources of individuals or even whole civilizations on earth and beyond. They offer players a dizzying array of dystopian scenarios in which to build and invent, cooperate with others (through other players, NPCs, or AI) to survive another day. Contributors show how video games focus attention, hone visuospatial skills, and shape cognitive control and physical reflexes and thus have the power to participate in the larger context of radical, activist artworks that challenge destructive hegemonic structures as methods of human conditioning, coping, and creating.
Video games are a relative late arrival on the cultural stage. While the academic discipline of game studies has evolved quickly since the nineties of the last century, the academia is only beginning to grasp the intellectual, philosophical, aesthetical, and existential potency of the new medium. The same applies to the question whether video games are (or are not) art in and on themselves. Based on the Communication-Oriented Analysis, the authors assess the plausibility of games-as-art and define the domains associted with this question.
This collection intends to fill a long overdue research gap on the praxeological aspects of the relationships between disabilities, accessibility, and digital gaming. It will focus on the question of how Game Studies can profit from a Disability Studies perspective of en-/disabling gaming and issues of disability, (in)accessibility and ableism, and vice versa. Instead of departing from the medical model of disability that informs a wide range of publications on “disabled” gaming and that preconceives users as either “able-bodied,” “normal” or as “disabled,” “deficit,” or “unable to play,” our central premise is that dis/ability is not an essential characteristic of the playing subject. We rather intend to analyze the complex infrastructures of playing, i.e., the complex interplay of heterogeneous human and non-human actors, that are en- or disabling.
The Art of Videogames explores how philosophy of the artstheories developed to address traditional art works can also beapplied to videogames. Presents a unique philosophical approach to the art ofvideogaming, situating videogames in the framework of analyticphilosophy of the arts Explores how philosophical theories developed to addresstraditional art works can also be applied to videogames Written for a broad audience of both philosophers and videogameenthusiasts by a philosopher who is also an avid gamer Discusses the relationship between games and earlier artisticand entertainment media, how videogames allow for interactivefiction, the role of game narrative, and the moral status ofviolent events depicted in videogame worlds Argues that videogames do indeed qualify as a new and excitingform of representational art
